With the band’s startlingly downwards trajectory from era defining metalcore might to insipid FM radio hogwash, there’s been very little to like about All That Remains in recent years. Couple this with a frontman who seems to endevour more in pissing off anyone and everyone he can rather than writing decent tunes, and all the appeal of what once looked like a vital metallic force has rather drastically dissolved. One recent comment from big-mouth LaBonte claims, bewilderingly, that All That Remains have “transcended metal”. Just one cursory listen to the creative blackhole that is ‘The Order Of Things’ will reveal just how laughable that idea really is.
With the prospect of a return to form already implausible, the catastrophic failure of this, the band’s seventh full-length, plumbs new lows. An instantly forgettable calamity, ‘The Order Of Things’ offers up all the shiny mainstream horror typical of the band’s recent output, yet with any remote glimmer of imagination tossed unceremoniously out of the window.
Flavourless attempts at recapturing their glory days metalcore hostility (‘No Knock’) look tacked on and limp rather pathetically between faux beatdown aggression, yet, away from this, the real revulsion is born of a staunch refusal to look, even slightly, beyond a cringe-worthy clawing for commercial acceptance. Obnoxious, over-produced clean vocal sap and fruitless instrumental hum-drum see ‘The Order Of Things’ embody all that can be deplored in modern rock music, which, given the undeniable caliber in their ranks (lead guitar maestro Oli Herbert confusingly continues to hide his stunning six-string prowess), sees the demise of All That Remains all the more frustrating and perplexing.
Whether it be through sheer laziness or a legitimate belief that they’re continuing to evolve, clearly the Massachusetts quintet find some merit in constantly diluting their craft and narrowing their songwriting scope. Perhaps they should give the rest of us a clue because, as it is, ‘The Order Of Things’ is as devoid of ideas and downright characterless as modern music can get.
Written by Tony Bliss (@TBliss88)